New edition on its way!
Many of you may be aware that we co authored a book in 2011 called Selling Your Film Without Selling Your Soul. It was funded, created and distributed much in the same way we advocate filmmakers approach their work; we attracted sponsors to help pay for the development, creation and the ability to distribute one version of the book as a forever free pdf download; and we self published it because it would be hypocritical to advocate that filmmakers take control of their work while we turned ours over to a publisher. Plus most publishers would bristle at the thought that copies are available for free. We felt that the best way to get our sponsors’ messages seen widely was through free distribution and we need to retain the rights to the work in order to make that happen.
For all who did download and share that book, we thank you and hope that it inspired and guided you on releasing your next projects.
We are several years on from the original release now and our thoughts are turning to our colleagues outside of the US. Most all of our previous case studies came from American filmmakers, but now more and more filmmakers from outside of the US are either leaving their government funded filmmaking schemes due to shrinking budgets or are choosing not even to try for the funds and turning to crowdfunding and private investment. We think it is time to put the spotlight on non US based filmmakers who are navigating their own paths as well as the outlets that are enabling them to reach outside of their countries’s borders and bring their work to a global audience.
I published a short sneak peek at one of my case study chapters on the Selling Your Film blog yesterday, so hop on over and take a look at what writer/director Marcus Markou did with his narrative film Papadopoulos and Sons. Though a timely, sweet and funny film, UK distributors didn’t know what to do with a film that didn’t have major festival accolades or a big name cast (sound familiar?), so Markou took matters into his own hands. What resulted was a hybrid release that included a 7 week theatrical run in the UK with sell out screenings in London’s Cineworld flagship cinema, Shaftesbury Avenue (right in the heart of the city, for those unfamiliar), a nomination from the London Critics’ Circle for Breakthrough British Filmmaker and distribution deals in Germany, Greece, the US, Australia and on major airlines. It is an inspiring tale and I can’t wait for you to read the chapter in full when it is released in May 2014.
Sneak Peek HERE
Sheri Candler February 6th, 2014
Posted In: book
Tags: Case studies, Jon Reiss, Marcus Markou, Orly Ravid, Papadopoulos and Sons, Selling Your Film Without Selling Your Soul, Sheri Candler
Distribution of transmedia stories
by Sheri Candler
Lately, we have been getting inquiries on distribution strategies for transmedia projects in the indie film space. While it is my distinct impression that most of these “transmedia” projects are really marketing campaigns built around films and this extra material probably would not have financial value to a traditional film distributor, I want to investigate a bit more on projects that have launched as cross platform stories.
My knowledge about the transmedia space is limited only to what I have read about or heard about through those who have created such projects. Most of these people were hired by studios, game designers, or big corporate brands to create an immersive and interactive story experience often using digital tools and sometimes real world events to sell a product (a film, a game, a TV show, a car, a book, a mobile service etc). Within the realm of those who create these story experiences, there is disagreement about what constitutes a “true” transmedia project. Is it actually transmedia if it serves “the mothership” product as a sales funnel? Is it actually transmedia if it raises awareness and encourages activism for a social cause? Is it actually transmedia if it breaks a story into a million (or less maybe) pieces and spreads it out in satisfying chunks across many different, but interconnected spaces, online and otherwise? Is it actually transmedia if it provides the audience with a way to participate or interact with the story, perhaps offering the ability to influence the story being told?
The wikipedia definition:
“Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling or cross-media storytelling) is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies, and is not to be confused with traditional cross-platform media franchises, sequels or adaptations. From a production standpoint, it involves creating content that engages an audience using various techniques to permeate their daily lives. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. Importantly, these pieces of content are not only linked together (overtly or subtly), but are in narrative synchronization with each other.”
No mention of selling other products in this definition, but does it mean it can’t be used in that capacity? “Permeate their daily lives” is an interesting phrase though because it seems to suggest either bringing the story to life around the viewer or allowing the viewer to virtually, if not physically, step into a story being told or to have some life altering experience that would not have happened had they not encountered/participated in the story.
The man who coined the term Transmedia Storytelling, Professor Henry Jenkins, has offered his updated interpretation here.
Over the next few weeks, I will report back with case studies on what I have found through interviews with those who have been through the experience, launched projects into the world and lived to tell the tale. Also, I will review the newest book on the subject by Andrea Phillips called A Creator’s Guide to Transmedia Storytelling. Hopefully, I will find people who are willing to be open about the process and how they succeeded or what they learned for next time. This is a very experimental space where either a lot of money is spent by way of corporate marketing budgets that will only see a return through sales of a product (and usually do not ONLY use a transmedia experience to advertise that product); or through new media funds where there is no expectation of return or favorable outcome; or through very tiny, self funded budgets where producers are gaining experience and expressing their creative ideas while directly interacting with an audience.
Stay tuned…
Orly Ravid October 4th, 2012
Posted In: transmedia
Tags: A creator's guide to transmedia storytelling, Andrea Phillips, Case studies, cross platform, digital storytelling, distribution, Henry Jenkins, independent film, Marketing, multiplatform storytelling, storytelling, transmedia
TFC Tidbit of the Day 45 Case studies
Here are a few links to some of my favorite crowdfunding case studies. These will give you more ideas on what others did successfully and how they felt about the experience.
King is a Fink http://bit.ly/aUVCqi; Gary King http://bit.ly/9unWbp; Jacques Thelemaque http://bit.ly/9UyA5o; Coffee and Celluloid http://bit.ly/d3HXgD; @craigmod http://bit.ly/d55B0I ; John Trigonis http://bit.ly/buz4bA
Orly Ravid August 20th, 2010
Posted In: crowdfunding
Tags: Case studies, Coffee and Celluloid, craigmod, crowdfunding, Gary King, Jacques Thelemaque, John Trigonis, King is a fink